Gabriele Rossi was born in Latina, he has been carrying out an acute and rigorous photographic research since 2007 which focuses on landscape, on the meaning of places and the relationships they establish with their own image, caught in their urban and social nature, deprived of human presence but full of traces of it, walls, disused signs, houses and forms of houses, naked structures of abandoned buildings, never completed.
The pivotal stage of his path, in which we can say that the photographer becomes an author, is ITACA: closer to an atlas than to a photographic book because of its precise intentionality – as compared to the emptying of places to the association to a predetermined perspective, to a localization.
The latter, also denied in the caption, is instead granted as a last resort, just like the analytical index in the last pages of a text book, geographical maps, and tourist guides. The reference to ITACA is not accidental: in this exhibition, the book is not a finish line but rather a starting point for a new journey. The photographies are chosen from the book and here they live a different life, they become the matrices of copies, become xerox.
From ITACA, whose images are taken with a field camera, Gabriele Rossi proceeds to detract the photographic element, until he reaches the dry black and white of the photocopy. Copies of copies, because let us not forget the in-depth nature of photography, the infinite reproducibility of images: and yet very special copies, as much as they are unique.
The neologism of “Xerotypes” could be created for them.
With this exhibition project, Gabriele Rossi seems to boldly deny any aesthetic and
contemplative value to his works, rather acting in favour of technical image, very dear to Vilém Flusser, carrying out an apparently conceptual and analytical operation, through a reduction of the landscape to the elementary form of things. And yet this taking away, started by the names of the places, is going on with the alogical order of the images respect to a real itinerary, and achieve this exhibition with the loss of colour (down to the photographic black and white, also colour). This operation succeeds in giving back to images - thanks to this subtractive disorientation - their evocative value, that "more" of indefinite that
delves into the imagination and that we usually entrust to painting or to a certain type of
photography that reproposes a romantic ideal of landscape, certainly not to the technical
Thus, the title of the project, a circular return to the poetic image, this verse by Rilke
seems to set these tables to music rather than define them. At the beginning it is jarring, a deliberate contradiction that instead unfolds the author's research before our eyes and,
without explaining it, restores that sense and possibility within every place, extraneous, known or anonymous, in its elementary structure and, due to this, infinite.
Carte d’Identità [Identity Cards]
The Review_ curated by Italo Bergantini and Gianluca Marziani
Identity Cards in a Europe that pursues matrixes of common and shared growth.
Identity Cards for belonging to the necessary roots of our Nation, declaring a geography but opening up to the free flow of ideas, images, themes.
Identity Cards to open up to deep dialogue and share the best version of the future,
hypothesizing an Italian contribution to an aesthetic cooperation for a better tomorrow.
ROMBERG's 2019-2020 season crosses nine iconographic lines between Painting and
Photography, the two Cartesian poles of an Italian imaginary that has built up learned world identities with its manifold humanity. Nine Artists for as many identity strategies that read
the social status, the human apparatus, the anthropological realities, the relational theme, the urban mutation and the morphologies of the landscape.
Identity Cards to think about the open boundaries of what we see, about mutation as an
evolutionary constant, about change and its necessary balance, about the possibilities of a
tomorrow beyond geographical boundaries, beyond the rhetoric of populism, beyond the fear of our own shadow.